Publisher description for Library of Congress control number 00361424 Publisher description for Aubrey Beardsley : a slave to beauty / David Colvin. Bibliographic record and links to related information available from the Library of Congress catalog Information from electronic data provided by the publisher. May be incomplete or contain other coding. Aubrey Vincent Beardsley, illustrator and writer, was the most notorious and outstanding artist of the fin de siecle. His disturbing erotic drawings shocked the sensibilities of the Victorians and his friendship and collaboration with Oscar Wilde has secured his place in the pantheon of great artists of the 19th century. Jaques-Emile Blanche's portrait of Bearsley, his face 'like a silver hatchet', is the enduring image of this fabulously talented man who died at the age of just 25. Beardsley's most important illustrations were for Wilde's Salome, Popes The Rape of the Lock, The Lysistrata of Aristophanes and Jonson's Valpone. He was art editor of the hugely influential Yellow Book from which he was dismissed following the arrest of Wilde becoming thereafter the creative editor of the 'Savoy' magazine.

He went on to write the highly erotic romance The Story of Venus and Tannhauser which was published in an unexpurgated version as Under the Hill. This extraordinary man created some of the most striking and enduring images of the last one hundred years. His influence on Oscar Wilde and his circle was profound and his achievements in such a short life is one of the great literary and artistic stories of the 19th century. Library of Congress subject headings for this publication: Beardsley, Aubrey, 1872-1898, Illustrators Great Britain Biography Aubrey Beardsley: Amazon.es: David Colvin: Libros en idiomas extranjeros Libros en idiomas extranjeros + EUR 2,99 de gastos de envÃ­o De 2Âª mano: Muy bueno | Detalles Estado: De 2Âª mano: Muy bueno Comentario: Usado con cuidado. Entrega estimada en 20 dÃ­as. AÃ±adir a la cesta AÃ±adir a la Lista de deseos Â¿Tienes uno para vender? Volver atrÃ¡s Ir adelante Escuchar Reproduciendo...

Interrumpido EstÃ¡s escuchando una muestra de la ediciÃ³n de audio Audible. Tapa dura, 14 sep 1998 — DescripciÃ³n del producto Reseña del editor Aubrey Vincent Beardsley, illustrator and writer, was the most notorious and outstanding artist of the fin de siecle. His disturbing erotic drawings shocked the sensibilities of the Victorians and his friendship and collaboration with Oscar Wilde has secured his place in the pantheon of great artists of the 19th century. Jaques-Emile Blanche's portrait of Bearsley, his face 'like a silver hatchet', is the enduring image of this fabulously talented man who died at the age of just 25. Beardsley's most important illustrations were for Wilde's Salome, Popes The Rape of the Lock, The Lysistrata of Aristophanes and Jonson's Valpone. He was art editor of the hugely influential Yellow Book from which he was dismissed following the arrest of Wilde becoming thereafter the creative editor of the 'Savoy' magazine.

He went on to write the highly erotic romance The Story of Venus and Tannhauser which was published in an unexpurgated version as Under the Hill. This extraordinary man created some of the most striking and enduring images of the last one hundred years. His influence on Oscar Wilde and his circle was profound and his achievements in such a short life is one of the great literary and artistic stories of the 19th century. Biografía del autor David Colvin is a man of many talents all of which he employs to the full. He lectures in the history of art; designs books for his own press, Cypher; designs costumes for the Mermaid Theatre and National Theatre; contributes photographs to the Architectual Association library and writes, mainly on the literary characters of the 19th century. No es necesario ningÃºn dispositivo Kindle. DescÃ¡rgate una de las apps de Kindle gratuitas para comenzar a leer libros Kindle en tu smartphone, tablet u ordenador. Apple 1000+ images about Aubrey Beardsley on Pinterest | Yoshitaka amano, William butler yeats and Ink Forward book-aesthete: The Land of Heart’s DesireWilliam Butler Yeats.

T.Fisher Unwin, 1894. First edition, title illustration by Aubrey Beardsley, advertisement leaf at end, printed wrappers with repeat of title illustration on upper cover, ink ownership inscription on upper cover, covers very slightly foxed, spine a little chipped, [Wade 10], 8vo, See More 1000+ images about Aubrey Beardsley on Pinterest | The morning, Ink and Illustration art Couple Embracing in the Sky by Aubrey Beardsley (English 1872-1898) See More Aubrey Beardsley: Art Nouveau Illustrator, Editor of Yellow Book: Biography Victoria and Albert Museum. Biography The brilliant, highly original but controversial English Art Nouveau illustrator Aubrey Beardsley is best-known for his erotic black-and-white illustrations which typified fin de siecle English decadence at the end of the 19th-century. A workaholic and art editor of The Yellow Book, Beardsley's most famous drawings include his illustration of Malory's Morte d'Arthur and Oscar Wilde's Salome (Princeton University Library, New Jersey).

Satirized in Punch magazine as "Aubrey Weirdsley", he became - despite a short life and an artistic career of only 6 years - one of the best known artists of his day and a major figure in Art Nouveau design as well as the Aesthetic movement. Throughout his life, Beardsley suffered from recurrent disabling attacks of tuberculosis, the disease that would finally kill him at the age of 25. With his contemporary Arthur Rackham (1867-1939), he is regarded as England's greatest master of illustration and one of the most original graphic artists of modern art . OTHER POSTER ARTISTS For more biographies of poster designers & Art Nouveau artists: Leader of Arts & Crafts Movement. MODERN ARTISTS see: Modern Artists . Early Life Aubrey Vincent Beardsley was born in Brighton. As a schoolboy he showed remarkable talent in various arts including music, writing and drama, as well as drawing and cartoons. He began his professional life in 1888 as a clerk in a surveyor's office in London at the age of 16, transferring shortly afterwards to the Guardian Life Insurance Company.

To counteract the boredom of his routine office job, he resorted during his free time to music, literature, and, especially, drawing. By 1890 he was determined to put his talents as a draftsman to more appropriate use. Influences on His Career and Art In 1891 he met the painter and medieval-illustrator Edward Burne-Jones, who encouraged him to study art seriously and to pursue it as a profession. Beardsley attended classes at the Westminster School of Art under Professor Fred Brown and, although his initial enthusiasm for instruction soon waned, it was revived within the same year when Beardsley saw Whistler's Harmony in Blue and Gold: the Peacock Room (1877; Freer Gallery of Art, Washington, DC). Whistler's adaptation and transformation of Japanese motifs fascinated Beardsley and encouraged him to collect original Japanese prints. He also became interested in the work of Mantegna, Pollaiuolo, and Botticelli, which he saw in the National Gallery, and in the work of Albrecht Durer , which he studied in reproductions. Beardsley discovered additional sources of inspiration when he went to Paris in 1892.

Armed with a letter of introduction from Burne-Jones, he visited the great French decorative painter and the muralist Puvis de Chavannes (1824-98) who praised the work of the young Englishman. Early Style: Morte d'Arthur Illustrations Public recognition first came to Beardsley when the owner of a bookshop, Frederick Evans, recommended him to the publisher John Dent as the most suitable illustrator for Dent's republication of Malory's Morte d'Arthur. Dent granted Beardsley the commission, which occupied him for the next 18 months. Most of his images during this early period are pen and ink drawings , and comprise large dark areas contrasted with large blank ones, along with areas of minute detail contrasting with areas with none at all. One of these illustrations, Merlin and Nimue (in Morte d'Arthur, vol.I, London, 1893) serves to demonstrate his early style. Beardsley's treatment of this subject, depicted earlier by Edward Burne-Jones , retains some of the details of the older master's style. Merlin is still the robe-swathed wizard outwitted and undone by his powerful pupil, the beautiful Nimue.

The setting remains naturalistic - the action takes place in an appropriate forest glade. Yet there is a languid, morbid mood to the scene, underlined by the facial expressions, which is altogether absent from the work of Burne-Jones. This departure from his master's style is taken even further in the border: floriated patterns swirl around the central illustration while a snake emerges from the foliage to support the title banner. Some of these elements may derive from Japanese decoration, but the composition as a whole is quite unique. Later Style: Salome Illustrations, Yellow Book Beardsley's next noteworthy commission was the illustration of Oscar Wilde's play Salome. Here the influence of Whistler becomes quite distinct, as witnessed in The Peacock Skirt (1894; William Hayes Fogg Art Museum, Cambridge, Mass.). The principal motif comes directly from Whistler's decorative scheme which Beardsley had seen three years earlier. But again, he forsakes the application of the original for a flight of fancy peculiar to himself. The peacock does not simply adorn the skirt, it appears in a cloud-like vision at the upper left.

Peacock feathers form a crown from the left-hand figure, and dart from this point to the corners of the drawing. The curving, sinuous line, the fantastic exaggeration of natural forms, and the emphasis on the dramatic potential of black and white were later to become incorporated into the language of the international Art Nouveau style. Contemporary with the Salome illustrations was Beardsley's appointment as art editor of the influential quarterly arts periodical The Yellow Book (see Aubrey Beardsley: prospectus cover for The Yellow Book April 15, 1894. Victoria and Albert Museum). His contributions to this periodical brought his work before a wider, but generally hostile audience. The critics objected to the grotesque misrepresentation of famous figures and recoiled from the macabre and perverse imagination responsible for their distortion. Oscar Wilde Scandal: Dismissal of Beardsley as Yellow Book Editor The adverse reaction to his Yellow Book drawings (he edited four editions), together with his tenuous links with Wilde, led to Beardsley's dismissal from The Yellow Book following the Wilde scandal of 1895. This was quite unfair.

Despite his association with Wilde's gay clique, which included several other English aesthetes, Beardsley's private life was blameless, not least because of his workaholic nature and a physique weakened by lung disease. He also had no great liking for Wilde himself. Shortly after his departure from The Yellow Book, as well as continuing to exercise his talent for satirical caricature and political cartoons, he joined the staff of the recently founded Savoy Magazine, in which some of his best designs were published. The Rape of the Lock drawings display a knowledge of 18th-century French art, well-illustrated in The Battle of the Beaux and the Belles (1896; Barber Institute of fine Arts, Birmingham, England), which uses intermediate tones reminiscent of stipple engraving. This conveys a warmer, more sympathetic atmosphere than the stark juxtaposition of black and white values found in his earlier work. However, in keeping with his graphic art as a whole, certain aspects of the drawing remain highly stylized and are intended for strictly decorative effects.

Illustrative Drawings For Aristophanes' Lysistrata During this final period, Beardsley also completed another set of illustrations for a privately printed edition of Aristophanes' Lysistrata, which rank among his most explicit examples of erotic art. At the end of his life, however, Beardsley regretted some of his transgressions against conventional taste and morals. He wrote to his publisher and patron, Leonard Smithers, requesting that his morally questionable drawings be destroyed. Despite this plea, Smithers preserved all his drawings and saved a representative selection of the grotesque creations of a brilliant draftsman. In keeping with his unconventionality in the visual arts, Beardsley also maintained a somewhat eccentric manner in public. He wore dove-grey suits, hats, and ties, and yellow gloves, and would frequently appear in a morning coat and patent leather pumps. Beardsley remained active until his death in the Mediterranean coastal resort of Menton, France, at the age of 25. Reputation Beardsley's style was a reflection of the liberal decadence of fin de siecle Europe, and he also drew inspiration from a number of other artists, from the Renaissance as well as his own era of modern art.

But his illustrative genius was all his own. Detached from the moral norms of mainstream Victorian society, his art remains vividly original, and it is no surprise that his influence over later artists and illustrators was enormous. Notable followers included the French Symbolists, the Poster art Movement of the 1890s and the work of many later Art Nouveau artists. Collections Illustrations by Aubrey Vincent Beardsley can be seen in several of the world's best art museums , including the Victoria & Albert Museum in London.  For more biographies, see: Famous painters .  For more information about modern art, see: Homepage . ENCYCLOPEDIA OF VISUAL ARTISTS Aubrey Beardsley: A Slave to Beauty book by David Colvin | 1 available editions | Alibris Books Biography Aubrey Vincent Beardsley, illustrator and writer, was the most notorious and outstanding artist of the fin de si?cle. His disturbing erotic drawings shocked the sensibilities of the Victorians and his friendship and collaboration with Oscar Wilde has secured his place in the pantheon of great artists of the 19th century.

Jaques-Emile Blanche's portrait of Bearsley, his face 'like a silver hatchet', is the enduring image of this fabulously talented man who died at the age of just 25. Beardsley's most important illustrations ... Read More Aubrey Vincent Beardsley, illustrator and writer, was the most notorious and outstanding artist of the fin de si?cle. His disturbing erotic drawings shocked the sensibilities of the Victorians and his friendship and collaboration with Oscar Wilde has secured his place in the pantheon of great artists of the 19th century. Jaques-Emile Blanche's portrait of Bearsley, his face 'like a silver hatchet', is the enduring image of this fabulously talented man who died at the age of just 25. Beardsley's most important illustrations were for Wilde's Salome, Popes The Rape of the Lock, The Lysistrata of Aristophanes and Jonson's Valpone. He was art editor of the hugely influential Yellow Book from which he was dismissed following the arrest of Wilde becoming thereafter the creative editor of the 'Savoy' magazine.

He went on to write the highly erotic romance The Story of Venus and Tannhauser which was published in an unexpurgated version as Under the Hill. This extraordinary man created some of the most striking and enduring images of the last one hundred years. His influence on Oscar Wilde and his circle was profound and his achievements in such a short life is one of the great literary and Read Less High Rated Sellers Only (Above 4 stars) Highest Rated Sellers Only (5 stars only) Shipping Attribute PO BOX 318, OXON, UNITED KINGDOM $10.99 PO BOX 318, OXON, UNITED KINGDOM $10.99 Milton Keynes, BUCKINGHAMSHIRE, UNITED KINGDOM $10.99 Aubrey Beardsley Biography, Art, and Analysis of Works | The Art Story Like The Art Story on Facebook Follow The Art Story on Google+ "People hate to see their darting vices depicted [but] vice is terrible and it should be depicted." Synopsis Aubrey Beardsley's artistic career was remarkably impactful for its brevity.

In the seven years he was able to draw and write before succumbing to tuberculosis, Beardsley developed a reputation as one of the most controversial artists of his time. The linear elegance of his designs coupled with the artist's bizarre sense of humor and fascination with the grotesque and taboo simultaneously intrigued and repelled his Victorian audience. His illustrations comprised characteristics of Aestheticism, Decadence, Symbolism, and, most apparently, Art Nouveau. Beardsley's block prints allowed his work to be easily reproduced and widely circulated. The diabolic beauty of his work and its overwhelming presence in English publishing houses meant that Beardsley quickly became the most influential draftsman of his time. Key Ideas More than mere illustrations, Beardsley's images captured the mood of the accompanying text, while aggressively critiquing repressive Victorian concepts of sexuality, beauty, gender roles, and consumerism. Beardsley's poster art and essay, "The Art of the Hoarding" (1894) changed how the public thought about art and advertising. The two, according to the artist, were not mutually exclusive. His theatre posters manifested his theory and helped revolutionize poster production in Europe and America.

Beardsley borrowed aspects from various artistic movements and adapted them to suit his own purposes. He appropriated the Decadent themes of decay, death, and eroticism to shock viewers out of their complacency; while his delicately interlacing forms and sinuous arabesque lines make his work important in marking the visual shift from the Aesthetic movement to the modern Art Nouveau style. In addition to his illustrations, Beardsley also composed poems and prose. His later writings were as Decadent as his pictures. Beardsley is best known for Under the Hill, an unfinished erotic novel about Venus and Tannhauser, for which he created the text as well as the accompanying illustrations. Most Important Art How Sir Tristram Drank of the Love Drink (1893-4) Produced for Thomas Malory's Le Morte D'Arthur, this illustration was one of many that helped tell the author's interpretation of the story of King Arthur, so beloved by the Pre-Raphaelites. The image refers to Tristram and Isolde's doomed love story, which predates and likely influenced the romantic tale of Lancelot and Guinevere.

Beardsley depicts the couple as androgynous figures separated by a decorative pillar that bifurcates the composition. The flowers within the picture framing and adorning its border seem ready to burst, suggesting fertile ripeness or perhaps foretelling the blossoming of something more sinister. Although the book was considered only moderately successful at the time, it has since been dubbed Beardsley's first masterpiece and is credited with popularizing his unique early style that blended a simplified interpretation of textile designer William Morris's medieval floral patterns, Pre-Raphaelite romance, and the darker Decadent themes of sex and death. This drawing is not only an early example of the intersection of the Arts and Crafts movement and Art Nouveau; it was also a social critique. Beardsley's androgynous figures challenged established Victorian gender roles and traditional concepts of sexuality. His illustrations for Le Morte D'Arthur were the last created in his early style and were followed by his mature work in which the influence of the Japanese aesthetic is more evident. Illustrated Book Like The Art Story on Facebook Biography Childhood Aubrey Vincent Beardsley was an artistic and musical prodigy from an early age.

Born to a father who preferred to squander his inheritance rather than adopt a trade, Beardsley's creative prowess helped stave off complete destitution. At age 12 he and his older sister Mabel (who would later become an actress) performed musical duets in a public concert. A witty child with a wicked sense of humour, Beardsley drew caricatures of his grammar school teachers and by age 14 had published his first poem, "The Valiant," as well as a series of sketches titled "The Jubilee Cricket Analysis" in the school's magazine, Past and Present. From childhood Beardsley's life expectancy was short and uncertain. At the age of seven he contracted tuberculosis, a disease then known as "consumption" because sufferers appeared to waste away. Beardsley's fragile health meant that he was somewhat frail as a boy and often found himself confined to his bed, unable to attend school or play with his peers. The impact of this disease on the artist's childhood was no doubt on his mind when as an adult he created Self-portrait in Bed (1894). The ink drawing depicts a small child nearly swallowed up by the enormous bed that he occupies.

An inscription in French at the top left reads: "By the gods not all monsters are in Africa." The quote is as much a reference to his lifelong struggle with tuberculosis as it is indicative of his fascination with the grotesque and macabre. Beardsley worked briefly as a clerk for an insurance agency after grammar school, all the while developing a portfolio of Pre-Raphaelites-inspired drawings. In 1891, at age 19, Beardsley accompanied his sister to the studio of painter and illustrator Sir Edward Burne-Jones. Although the siblings were initially denied admittance, Burne-Jones's interest was piqued when he noticed Mabel's striking red hair. Beardsley soon built up the courage to show the artist his portfolio. Deeply impressed by the youth's obvious talent and imagination, Burne-Jones recommended Beardsley to the Westminster School of Art. There, Beardsley received instruction from painter Frederick Brown. A consumptive relapse shortly thereafter meant that from then on Beardsley lived on a knife's edge, relishing in a lust for life even as he faced the prospect of an early death.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Early Training Sir Edward Burne-Jones was not the only one to notice Beardsley. Within a year of enrolling in art school, the young artist received an offer from publisher Joseph Dent to illustrate Sir Thomas Malory's epic, Le Morte D'Arthur (1893). Impressed by the artist's ability, Dent also observed that Beardsley was "a strange boy" and probably "not long for this world." Despite his apparent frailty, Beardsley produced over 300 illustrations within a short time frame. The resulting work blends the classical poses and complex compositions found in Pre-Raphaelite art and the decorative patterning, flat two-dimensionality, and erotica of Japanese Ukiyo-ye prints with a Decadent fixation on death and decay. His illustrations for Le Morte D'Arthur made Beardsley famous and led to his introduction to Oscar Wilde, a provocative author and important figure in the Decadent and Aesthetic movements in England.

Deeply influenced by the French Decadent theory of art outlined by Theophile Gautier and exemplified in Charles Baudelaire's Les Fleurs du Mal (1857), Wilde was an outspoken critic of repressive Victorian sensibilities and supported the Aesthetic notion of "art for art's sake." His philosophical novel The Picture of Dorian Gray (1891) plays on these ideas by telling a story about a man, Dorian, who sells his soul for eternal beauty and immortality, but falls into depravity. Wilde, who acknowledged the controversial novel had an autobiographical component, lived his art. His decadent lifestyle and homosexuality shocked prudish Victorian society. Beardsley's own sexuality is uncertain, but nonetheless aroused feverish public speculation, including accusations of homosexuality, transvestitism, and incest with his sister. A meticulous dresser, Beardsley's neatly pressed morning jacket, fine gloves, and patent leather pumps only fueled rumors, as did his association with Wilde.

Punch magazine dubbed Beardsley "Daubrey Wierdsley" and "Awfully Weirdly." The artist's relationship with Wilde, though it initially bolstered his career, quickly became tumultuous and, ultimately cost Beardsley his position as art editor for The Yellow Book, an important Decadent magazine, in 1895. In 1894, Beardsley, having just met the notorious author, commenced illustrating the English translation of Wilde's Salomé (1894). The resulting work reached new heights of public offence with its erotic, ghoulish, deformed figures, phallic candles, femme fatales, and blood-drinking flowers. Many images were condemned as obscene, or bore no relation to the text. And yet they had such a diabolic beauty that the egotist Wilde began to worry that they might outshine his work. In particular Wilde criticized the Japanese aesthetic in Beardsley's work, which he considered contrary to the Byzantine character of Salomé.

The decorative embroidery on Salomé's gown in The Peacock Skirt as well as intricate interlacing floral patterns throughout the book were largely inspired by Whistler's Peacock Room, which Beardsley so greatly admired. Offended by Wilde's critique, Beardsley mocked Wilde in playful caricatures such as Oscar Wilde at Work (1895), which shows the author plagiarizing the Bible, Swinburne, and French Verbs. Wilde retaliated by publically declaring that he had "invented Aubrey Beardsley" - a preposterous claim noted by journalists. Victorian society was (not surprisingly) appalled by Salomé. The Art Journal described Beardsley's work as, "terrible in its weirdness and suggestions of horror and wickedness." Seemingly untroubled by his critics and perhaps playing on their anxiety, Beardsley described his imaginative, theatrical, and macabre work as populated by "subjects [which] were quite mad and a little indecent. Strange hermaphroditic figures wandering about in period costumes, quite a new world of my own creation." Beardsley's talent extended beyond book illustrations to poster designs and magazine editing.

In keeping with his interest in theatre, the artist created a poster for the Avenue Theatre that featured the play A Comedy of Sighs (1894). At the time, the world was on the cusp of an advertising revolution. Recognizing this, Beardsley observed in his essay, "The Art of the Hoarding" (1894) that if advertisements were to be unavoidable in modern life, they should be beautiful. The artist foresaw "London... resplendent with advertisements, and, against a leaden sky, sky-signs will trace their formal arabesque. Beauty has laid siege to the city, and telegraph wires shall no longer be the sole joy of our aesthetic perceptions." Other examples of the beautifully rendered advertisements Beardsley produced could be found in magazines, including The Yellow Book, for which he briefly served as art editor. The quarterly publication featured essays by such giants as H. G. Wells, William Butler Yeats, and Henry James. It mocked Victorian society for censoring sex in art and literature. This sexually repressive Victorian attitude came from both rational (syphilis was rampant) and irrational reasons (they thought masturbation caused physical disorders).

In his work for The Yellow Book, Beardsley revealed his adherence to Pre-Raphaelite notions of repressed desire and directly challenged Victorian morals by obscuring the line between art and obscenity. Mature Period The Yellow Book was a sell-out, despite being damned by the press as "repulsive" and "insolent." Its name intentionally called to mind yellow paper bound French decadent novels deplored by conservative Victorians. If this blatant association was not enough, within a year of its initial publication, Beardsley, then its art editor, became engulfed in the explosive public scandal of the Oscar Wilde rent boy/libel trials of 1895. The press reported that Wilde, upon being arrested for indecency and sodomy, was led away with a "yellow book" under his arm - a reference to his notorious character Dorian Gray. The public, however, believed the text to be Beardsley's journal of the same name. Public outrage convinced The Yellow Book publisher John Lane to fire Beardsley. Thus, by age 22, the young artist had lost his income and, it seemed, his career and reputation.

Perversely, perhaps enjoying his newfound notoriety, Beardsley promptly moved into the very suite in Geneux's Private Hotel that had been named in Wilde's trial. Beardsley was not unemployed for long. A leading distributor of erotica, Leonard Smithers collaborated with Beardsley to found a rival magazine, The Savoy, in 1896. Smithers also hired the artist to illustrate Alexander Pope's The Rape of the Lock (1896). Unfortunately, that year Beardsley's tuberculosis returned with violent haemorrhaging, so that he was often too ill to create. The work he could achieve was beautifully elegant and intricate. Gone were the jet-black swaths and blank spaces. Now grey tonal variations and delicately rendered details characterized his work. Beardsley's new style was also more explicitly pornographic. He portrayed female sexuality, phalluses, and female masturbation, for example, in Aristophanes' Lysistrata (1896) at a time when women were not believed to experience sexual desire. Pope's The Rape of the Lock was beautifully bound in turquoise cloth and gold.

On seeing it James McNeill Whistler, who had rejected earlier attempts by Beardsley to cultivate a friendship, reduced Beardsley to tears by telling him, "Aubrey, I have made a very great mistake - you are a very great artist." Despite Whistler's accolades, Beardsley's work for Smithers, particularly Lysistrata, was deemed offensive. The publisher was accused of ruining Beardsley's morals and sacrificing his health. But Beardsley would not succumb to his ailment that quickly. Health permitting, Beardsley very much enjoyed the social scene and traveling. During their 1896 trip to Paris, for example, he, Smithers, and the poet Ernest Dowson visited Gabriel de Lautrec in Montmartre and there indulged in a night of hashish and dance halls. When the wine and revelry subsided, the sober Beardsley experienced a change of heart and converted to Roman Catholicism.

He promptly wrote to Smithers begging him to destroy all copies of Lysistrata and other obscene works "by all that is holy." Smithers, however, did not comply with his wishes and went on to publish Beardsley's collected work in A Book of Fifty Drawings (1897). Late Period The last years of Beardsley's life was spent trying to complete illustrations for Theophile Gautier's Madame Maupin and Ben Jonson's Volpone. Facing death, the artist wanted to leave behind a beautiful and worthy legacy. In a final collaboration with Smithers, the artist managed to create his own book, Under the Hill, for which he wrote the text as well as designed its illustrations. Early portions of this erotic story about Venus and Tannhauser appeared in issues of The Savoy (1896) in a slightly watered-down form. It was not until 1907 that Smithers published the entire manuscript which had been left unfinished at the time of Beardsley's death nearly a decade earlier. His health deteriorating, Beardsley took up residence on the French Riviera in 1896. Letters to friends show his decline to an inevitable and terrible death.

Sometimes he wrote despairingly, "I am literally crying with vexation," and other times in vain hope, "that the end is less near than it seems." In one of his last letters he expressed his regret to die when "such splendid things I had planned." Aubrey Beardsley died at the age of 25 in Menton, France. Like Dorian Gray, he would remain young forever. Legacy The Decadent movement, and the Aesthetic movement from which it emerged, paved the way for modern art. Beardsley's work possesses the decorative qualities of Aestheticism as well as the pessimistic hedonism and macabre humor of the Decadents. As such, Dada painter George Grosz noted in 1946 that Beardsley influenced "practically every modern designer after 1900." The artist's designs were particularly important to the development of Art Nouveau. Some other important artists who took note of Beardsley are Wassily Kandinsky, Pablo Picasso and artists of the Glasgow School, such as Charles Rennie Mackintosh.

The theatrical beauty of Beardsley's designs were used in the Hollywood production of Salomé in 1921 and Leon Bakst's sets for the Ballets Russes. Beardsley's work has been regularly re-appreciated in Art Nouveau revivals, particularly during the 1960s in Peter Max's cartoons for the Beatles' film Yellow Submarine. He was also included in the collage on the Beatles Sgt Pepper album, which suggests his significance as a major influence on the musical group. Beardsley's work continues to shock audiences today. Most recently, in 2007 Beardsley's Cinesias entreating Myrrhina to coition from Lysistrata was exhibited at London's Barbican with access limited to viewers 18 years and older. Influences and Connections Aubrey Beardsley: Amazon.it: David Colvin: Libri in altre lingue Libri in altre lingue Commento: Usato in maniera gentile. Consegna stimata entro 20 giorni. Aggiungi al carrello Passa al retro Passa al fronte Ascolta Riproduzione in corso...

In pausa Stai ascoltando un campione dell'edizione audio udibile. Copertina rigida, 17 ago 1998 — Descrizione prodotto Descrizione del libro The work and life of Aubrey Beardsley published to tie-in with the centenary of his death, a major exhibition of his work at the V&A and a two hour TV special on his a life. L'autore David Colvin is a man of many talents all of which he employs to the full. He lectures in the history of art; designs books for his own press, Cypher; designs costumes for the Mermaid Theatre and National Theatre; contributes photographs to the Architectual Association library and writes, mainly on the literary characters of the 19th century. Non Ã¨ necessario possedere un dispositivo Kindle. Scarica una delle app Kindle gratuite per iniziare a leggere i libri Kindle sul tuo smartphone, tablet e computer. Apple Per scaricare una app gratuita, inserisci il numero di cellulare. oppure Non hai un Kindle? Scopri Kindle , oppure scarica l'applicazione di lettura Kindle GRATUITA.

Dettagli prodotto Editore: Orion (17 agosto 1998) Lingua: Inglese Media recensioni: Recensisci per primo questo articolo Garanzia e recesso: Se vuoi restituire un prodotto entro 30 giorni dal ricevimento perchÃ© hai cambiato idea, consulta la nostra pagina d'aiuto sul Diritto di Recesso . Se hai ricevuto un prodotto difettoso o danneggiato consulta la nostra pagina d'aiuto sulla Garanzia Legale . Per informazioni specifiche sugli acquisti effettuati su Marketplace consulta… Maggiori informazioni la nostra pagina d'aiuto su Resi e rimborsi per articoli Marketplace . Desideri aggiornare le informazioni del prodotto o lasciare dei feedback sulle immagini ?

Consegne illimitate in 1 giorno Iscriviti ad Amazon Prime: consegne in 1 giorno senza costi aggiuntivi, accesso anticipato alle Offerte Lampo di Amazon.it e agli eventi di Amazon BuyVIP e spazio di archiviazione per le foto illimitato Non ci sono ancora recensioni di clienti su Amazon.it 5 stelle 4.0 su 5 stelle Could be better 23 ottobre 2015 Di Richard Collins - Pubblicato su Amazon.com Formato: Copertina rigida Acquisto verificato Love Aubrey Beardsley. Sad that he died at such a young age. The book is pretty good, covers a lot of ground about his art, but have plenty of room for improvement too. 5.0 su 5 stelle I love it! 14 novembre 2016 Di Natalie K. Garrett - Pubblicato su Amazon.com Formato: Copertina rigida Acquisto verificato Thanks, I love it!

4.0 su 5 stelle Four Stars 16 gennaio 2015 Di Flashbro - Pubblicato su Amazon.com Formato: Copertina flessibile Acquisto verificato Good book; I just wish there were more illustrations! 1 di 3 persone hanno trovato utile la seguente recensione 5.0 su 5 stelle Aubrey Beardsley in black and white 9 novembre 2013 Di Victoria Zlotkowski - Pubblicato su Amazon.com Formato: Copertina flessibile Acquisto verificato Great art deserves a great book! Fall in love with the delicate and erotic art of Aubrey Beardsley, a must for anybody interested in elegant form! 8 di 8 persone hanno trovato utile la seguente recensione 5.0 su 5 stelle The Perfect Introduction to Beardsley's Life and Work 31 marzo 2004 Di Danielle Bennignus - Pubblicato su Amazon.com Formato: Copertina flessibile A quick read, and packed with wonderful photographs and drawings, this book is a great treat for the new Beardsley fan.

This book re-opened my eyes to his work, and broadened my horizons, as to who he was, and the life that he led. In other words, it laid the foundation for my further studies of Aubrey Beardsley, and his artistic contribution to the world. The information is thorough and accurate, and the images are a joy to behold - so much so, in fact, that I purchased a second copy for the sole purpose of cutting out and framing them, for hanging in my drawing studio. Also, the brief nature of the book is helpful, in that it doesn't require the reader to commit, as is necessary for a longer biography. It serves as an ideal introduction. I would strongly recommend it, however, to both those who have just discovered Beardsley, and those who have long loved Beardsley's work.

Question: Which 19th century artist illustrated Oscar Wilde’s “Salome” and Pope’s “Rape of the Lock”?
Answer: Aubrey Beardsley